Cannes Film-makers Urge France to Face Up to Colonial Past

Omar Sy is adding star power to a movie about French colonialism Valery HACHE AFP
Omar Sy is adding star power to a movie about French colonialism Valery HACHE AFP
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Cannes Film-makers Urge France to Face Up to Colonial Past

Omar Sy is adding star power to a movie about French colonialism Valery HACHE AFP
Omar Sy is adding star power to a movie about French colonialism Valery HACHE AFP

Film-makers are holding up a mirror to France over its colonial past at the Cannes festival, helped by star power and a growing French readiness to face up to injustices committed notably in Africa.

The colonization of Algeria and the horrors of the Algerian war of independence (1954-1962) deeply scarred both nations and continues to mar relations, but was hardly discussed in France in public for decades, AFP said.

Although President Emmanuel Macron has acknowledged crimes committed -- including a massacre by police of Algerians in Paris in 1961 which he called "inexcusable" -- his government has ruled out "presenting an apology" for France's colonial past.

"I think you could say that I'm obsessed by the Algerian war," French director Philippe Faucon told AFP at the Cannes festival.

His film "Les Harkis" tells the story of Algerians who fought alongside French troops against the independence movement, only to be left behind for the most part when France pulled out of Algeria, and facing the vengeance of the victorious Algerians.

The movie places the responsibility for this "criminal betrayal" and the subsequent massacres of Harkis firmly at the doorstep of then-president Charles de Gaulle.

"It is necessary to recall this story and look the truth in the eyes," said Algerian-born Faucon, although historical "complexities" make easy judgments impossible.

- 'Everybody needs to know' -
Fellow director Mathieu Vadepied also warned against facile conclusions about France's forced recruitment of Senegalese soldiers for its World War I war effort, the subject of his film "Tirailleurs" ("Father and Soldier").

French superstar Omar Sy -- who has won a huge international following with his roles in "Untouchable" and the Netflix smash hit "Lupin" -- plays the lead in the story about a father and a son who are both forced into the trenches.

"My idea is to put things into question," Vadepied told AFP. "Question France's historical relationship with its former colonies, what do we have to say about that today, do we even know what we did?"

While rejecting any "frontally political" approach, he said that "if we deny the facts we can never move on, we need to tell these stories, everybody needs to know them."

The idea was however "not to guilt-trip people, but to recognize the painful history and free ourselves".

Sy, the France-born son of west African immigrants, told the audience at the film's opening night: "We have the same story, but we don't have the same memories."

The second Cannes week will see the screening of "Nos Frangins" ("Our Brothers") by French director Rachid Bouchareb who in 2006 sparked a nationwide debate with "Indigenes" ("Days of Glory"), a film about the contribution of North African soldiers to the French Free Forces during World War II.

In his latest movie, he tells the story of Malik Oussekine, a student killed in 1986 and whose name resonates deeply among French minorities.

On the night of December 6, 1986, two police officers beat to death the 22-year-old French-Algerian on the sidelines of a student protest in Paris.

He had not been involved in the demonstration, and his killing became a turning point -- triggering weeks of unrest and leading to the unprecedented conviction of the officers involved.

It took 35 years for the death of Malik Oussekine to be recounted on-screen.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.